Lessons · Showcase

Bourree

A dance on the upbeat

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% A BOURREE begins on the last quarter of the bar. Bach's tune
% enters on '1 — one quarter of anacrusis — and leans down a fourth
% onto 5, which is the first downbeat. The first thing you hear is
% not the beginning of a bar.
 
bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic
 
Upbeat ::= '1 _4
 
Upbeat 5 _4
 
 
% The bar it leans into never leaves the neighbors of 5: on,
% under, on, over, on, under — 5 4 5 6 5 4. Two quarters, on 5 and
% on 6; the rest are eighths.
 
Turn ::= 5 _4 4 _2 5 _2 6 _4 5 _2 4 _2
 
Upbeat Turn
 
 
% Bar two answers in four plain quarters, and its last quarter IS
% Upbeat: 5 drops a fifth to 1, repeats it, then leaps the octave
% back to '1. Every bar hands the next one its upbeat, so the lean is
% built into the material rather than added to it.
 
Reply ::= 5 _4 1 _4 1 _4 Upbeat
 
Upbeat Turn Reply Turn
 
 
% The left hand states the bar line plainly: even eighths, .1
% under every off-eighth, and above it .3 .3 .4 .4 on the four
% beats. It enters early too — two eighths, .1 .2, climbing into
% the downbeat.
 
Ped ::= {.3 _2 .1 _2}*2 {.4 _2 .1 _2}*2
 
{Upbeat Turn, .1 _2 .2 _2 Ped}
 
 
% Where a phrase BEGINS is a compositional choice, and the choice
% is audible. Phrase over Bass is what Bach wrote; Phrase[1:] drops
% the upbeat and a quarter rest makes up the length, so the whole
% tune falls a quarter early against an unchanged bass — 6 now sounds
% over .3 instead of .4, and Reply, which should enter on a bar line,
% enters a beat before it.
 
Ped2   ::= .3 _2 .1 _2 .4 _2 .1 _2 .3 _2 .1 _2 .2 _2 .1 _2
Bass   ::= .1 _2 .2 _2 Ped Ped2
Phrase ::= Upbeat Turn Reply
 
{Phrase, Bass}
{Phrase[1:] - _4, Bass}
 
 
% The four-bar period, both hands. Bar three repeats bar one in
% both of them; bar four answers Turn with the same rhythm pointing
% the other way — instead of reaching up to 6 the line sinks to 3 —
% and the bass follows it down, .2 .2 where it had .4 .4.
 
Fall ::= 5 _4 4 _2 3 _2 4 _4 3 _2 4 _2
Ped3 ::= {.3 _2 .1 _2}*2 {.2 _2 .1 _2}*2
 
{Phrase Turn Fall, Bass Ped Ped3}
 
 
% THE WHOLE BOURREE — both strains, from the verified grammar.
 
bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic
 
% The cast — every motif and chord the lead line uses:
 
Run ::= 4 _2 5 _2 6 _4
M37 ::= 5 _4 Run
M16 ::= 5 _2 4 _2
M18 ::= 5 _4 4 _2
M6 ::= 2 _2 Run~@-5 2 _4
M19 ::= 3 _2 4 _4
S2 ::= M6@5 4 _2 5 _2? 3 6 _4? 4 5 _2? 3 4 _2 M18 M19 3 _2
M23 ::= 3 _2 4 _2
M13 ::= M16 3 _2
M17 ::= .2 _2 .1 _2
M9 ::= M17 .2 _2
M15 ::= .3 _2 .1 _2
M20 ::= 3 _2 M15~@14
M4 ::= bb4 _2 a4 _2 g4 _2 d5 _2 bb4 _2 a4 _2
S3 ::= M13 M16 M9@~8 4 _2 M9@~8 1 _2 M20 M4@2 1 _2
M8 ::= 5 _2 M13@~-2 M13@~-1
M11 ::= M13@~-4 M15@~7 .7 _2
M12 ::= 2 _2 M23
M32 ::= 7 _2 '5 _2
M26 ::= '5 _2 7 _2 6# _2
S7 ::= M20 M9@~8 .7 _2? 1 M12
M41 ::= 6 _2 M11@7
M39 ::= 7 _2 2 _2
M22 ::= 1 _2 .7# _2
M29 ::= 7# _2 '1 _2
M21 ::= ..5 _2 .2 _2
M24 ::= 5 _2 6 _2? 7b
S5 ::= M12@~2 1 _2 5b _2 M24 1 _2 M24 7 _2 2 _2
M40 ::= .2 _2 M15
 
key e4 harm
key a4 min
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F1a1 ::= '1 _4 M37 M16 5 _4 1 _4*2
F1a2 ::= '1 _4 M18 S2 2 _2 M37@~-2 M23 S3 M8
F1a1 F1a2
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F11a ::= | 1 _2 4 _2 M11@2 |
  | .7 _2 M8@~-1 |
F11a
 
 
% ——— Part 2, from m.1 ———
 
key e4 harm
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F13a ::= | 3 _2 6 _2 M11@~3 |
  | 2 _2 M8@~1 |
  | 2 _2 5 _2 3 _4 Run@~-2 |
  | M9@~8 M9@~7 3 _2 4 _2 |
F13a
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F17a1 ::= 5 _2 M12 M12 3 _2 M15~@14 M15@~7 M15~@~9*2 '1 _2 5 _2 M15~@24*2 '4 _2 '3 _2 M9@~14 '1 _2 M32 '2 _2 '1 _2
F17a2 ::= M32 M4@9 '1 _2 M26 5 _2 M26 M15~@~11 '1 _4 '2 _4 5 _4
F17a1 F17a2
 
key a4 min
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F24a ::= | 5b _4 5 _12 |
  | '1 _4 5 _12 |
F24a
 
 
% ——— Part 3, from m.1 ———
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F26a1 ::= | 2 _4*2 Run@~-3 |
  | Run@~-2 M13@~-2 .7# _2 |
  | 6 _4 M18 M19 |
F26a2 ::= S7 5 _2 6 _2 M12@~2 7 _2
  | M12@~3 M13@~3 M16 |
F26a3 ::= 4b _2 '2b _2 S3@~3 3 _2 M4
F26a1 F26a2 F26a3
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F36a1 ::= .7 _2 M41 3 _2 M41@-7
F36a2 ::= .6 _2 1 _2 2b _2 M23 M9@~11 M39 4b _2 4 _2 5 _2 M9@~12 M39@2 4 _6 5 _2 5 _6 4 _2 4 _12
F36a3 ::= | Run Run |
F36a1 F36a2 F36a3
 
 
% ——— Part 4, from m.1 ———
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F43a1 ::= 5 _2 S2#8@~-1 M19
  | 3 _2 M6 |
F43a2 ::= | 1 _2 M6 |
  | M22 1 _4 M13@~1 3 _2 |
F43a1 F43a2
 
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F49a1 ::= 2 _2 M22 1 _2 2 _2 .7# _2 .5 _4 2 _4 M12@~1 1 _2 M29@~-4
F49a2 ::= M21~@17 S5 5 _2 7b _2 7# _2 2 _2 S5#4@~2 M29
F49a3 ::= M21~@24 M12@~6 M29 M40@17 5 _6 6 _2 2 _6 1 _2 1 _12
F49a1 F49a2 F49a3

% A BOURREE begins on the last quarter of the bar. Bach's tune
% enters on '1 — one quarter of anacrusis — and leans down a fourth
% onto 5, which is the first downbeat. The first thing you hear is
% not the beginning of a bar.

bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic

Upbeat ::= '1 _4

Upbeat 5 _4

% The bar it leans into never leaves the neighbors of 5: on,
% under, on, over, on, under — 5 4 5 6 5 4. Two quarters, on 5 and
% on 6; the rest are eighths.

Turn ::= 5 _4 4 _2 5 _2 6 _4 5 _2 4 _2

Upbeat Turn

% Bar two answers in four plain quarters, and its last quarter IS
% Upbeat: 5 drops a fifth to 1, repeats it, then leaps the octave
% back to '1. Every bar hands the next one its upbeat, so the lean is
% built into the material rather than added to it.

Reply ::= 5 _4 1 _4 1 _4 Upbeat

Upbeat Turn Reply Turn

% The left hand states the bar line plainly: even eighths, .1
% under every off-eighth, and above it .3 .3 .4 .4 on the four
% beats. It enters early too — two eighths, .1 .2, climbing into
% the downbeat.

Ped ::= {.3 _2 .1 _2}*2 {.4 _2 .1 _2}*2

{Upbeat Turn, .1 _2 .2 _2 Ped}

% Where a phrase BEGINS is a compositional choice, and the choice
% is audible. Phrase over Bass is what Bach wrote; Phrase[1:] drops
% the upbeat and a quarter rest makes up the length, so the whole
% tune falls a quarter early against an unchanged bass — 6 now sounds
% over .3 instead of .4, and Reply, which should enter on a bar line,
% enters a beat before it.

Ped2   ::= .3 _2 .1 _2 .4 _2 .1 _2 .3 _2 .1 _2 .2 _2 .1 _2
Bass   ::= .1 _2 .2 _2 Ped Ped2
Phrase ::= Upbeat Turn Reply

{Phrase, Bass}
{Phrase[1:] - _4, Bass}

% The four-bar period, both hands. Bar three repeats bar one in
% both of them; bar four answers Turn with the same rhythm pointing
% the other way — instead of reaching up to 6 the line sinks to 3 —
% and the bass follows it down, .2 .2 where it had .4 .4.

Fall ::= 5 _4 4 _2 3 _2 4 _4 3 _2 4 _2
Ped3 ::= {.3 _2 .1 _2}*2 {.2 _2 .1 _2}*2

{Phrase Turn Fall, Bass Ped Ped3}

% THE WHOLE BOURREE — both strains, from the verified grammar.

bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic

% The cast — every motif and chord the lead line uses:

Run ::= 4 _2 5 _2 6 _4
M37 ::= 5 _4 Run
M16 ::= 5 _2 4 _2
M18 ::= 5 _4 4 _2
M6 ::= 2 _2 Run~@-5 2 _4
M19 ::= 3 _2 4 _4
S2 ::= M6@5 4 _2 5 _2? 3 6 _4? 4 5 _2? 3 4 _2 M18 M19 3 _2
M23 ::= 3 _2 4 _2
M13 ::= M16 3 _2
M17 ::= .2 _2 .1 _2
M9 ::= M17 .2 _2
M15 ::= .3 _2 .1 _2
M20 ::= 3 _2 M15~@14
M4 ::= bb4 _2 a4 _2 g4 _2 d5 _2 bb4 _2 a4 _2
S3 ::= M13 M16 M9@~8 4 _2 M9@~8 1 _2 M20 M4@2 1 _2
M8 ::= 5 _2 M13@~-2 M13@~-1
M11 ::= M13@~-4 M15@~7 .7 _2
M12 ::= 2 _2 M23
M32 ::= 7 _2 '5 _2
M26 ::= '5 _2 7 _2 6# _2
S7 ::= M20 M9@~8 .7 _2? 1 M12
M41 ::= 6 _2 M11@7
M39 ::= 7 _2 2 _2
M22 ::= 1 _2 .7# _2
M29 ::= 7# _2 '1 _2
M21 ::= ..5 _2 .2 _2
M24 ::= 5 _2 6 _2? 7b
S5 ::= M12@~2 1 _2 5b _2 M24 1 _2 M24 7 _2 2 _2
M40 ::= .2 _2 M15

key e4 harm
key a4 min
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F1a1 ::= '1 _4 M37 M16 5 _4 1 _4*2
F1a2 ::= '1 _4 M18 S2 2 _2 M37@~-2 M23 S3 M8
F1a1 F1a2

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F11a ::= | 1 _2 4 _2 M11@2 |
  | .7 _2 M8@~-1 |
F11a

% ——— Part 2, from m.1 ———

key e4 harm
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F13a ::= | 3 _2 6 _2 M11@~3 |
  | 2 _2 M8@~1 |
  | 2 _2 5 _2 3 _4 Run@~-2 |
  | M9@~8 M9@~7 3 _2 4 _2 |
F13a

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F17a1 ::= 5 _2 M12 M12 3 _2 M15~@14 M15@~7 M15~@~9*2 '1 _2 5 _2 M15~@24*2 '4 _2 '3 _2 M9@~14 '1 _2 M32 '2 _2 '1 _2
F17a2 ::= M32 M4@9 '1 _2 M26 5 _2 M26 M15~@~11 '1 _4 '2 _4 5 _4
F17a1 F17a2

key a4 min
% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F24a ::= | 5b _4 5 _12 |
  | '1 _4 5 _12 |
F24a

% ——— Part 3, from m.1 ———

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F26a1 ::= | 2 _4*2 Run@~-3 |
  | Run@~-2 M13@~-2 .7# _2 |
  | 6 _4 M18 M19 |
F26a2 ::= S7 5 _2 6 _2 M12@~2 7 _2
  | M12@~3 M13@~3 M16 |
F26a3 ::= 4b _2 '2b _2 S3@~3 3 _2 M4
F26a1 F26a2 F26a3

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F36a1 ::= .7 _2 M41 3 _2 M41@-7
F36a2 ::= .6 _2 1 _2 2b _2 M23 M9@~11 M39 4b _2 4 _2 5 _2 M9@~12 M39@2 4 _6 5 _2 5 _6 4 _2 4 _12
F36a3 ::= | Run Run |
F36a1 F36a2 F36a3

% ——— Part 4, from m.1 ———

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F43a1 ::= 5 _2 S2#8@~-1 M19
  | 3 _2 M6 |
F43a2 ::= | 1 _2 M6 |
  | M22 1 _4 M13@~1 3 _2 |
F43a1 F43a2

% mm.1-10 — M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F49a1 ::= 2 _2 M22 1 _2 2 _2 .7# _2 .5 _4 2 _4 M12@~1 1 _2 M29@~-4
F49a2 ::= M21~@17 S5 5 _2 7b _2 7# _2 2 _2 S5#4@~2 M29
F49a3 ::= M21~@24 M12@~6 M29 M40@17 5 _6 6 _2 2 _6 1 _2 1 _12
F49a1 F49a2 F49a3

running…edit it — it re-runs as you type

Opening…

Bourree · Pattern Engine